Props and sets must not be brought in if a particular prop is necessary for the story, a location must be chosen where this prop is to be found. The sound must never be produced apart from the images or vice versa. Music must not be used unless it occurs where the scene is being shot. The camera must be hand-held. Any movement or immobility attainable in the hand is permitted.
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DOGMA 95 is a rescue action! In enough was enough! The movie was dead and called for resurrection. The goal was correct but the means were not! The new wave proved to be a ripple that washed ashore and turned to muck. Slogans of individualism and freedom created works for a while, but no changes. The wave was up for grabs, like the directors themselves. The wave was never stronger than the men behind it. The anti-bourgeois cinema itself became bourgeois, because the foundations upon which its theories were based was the bourgeois perception of art.
The auteur concept was bourgeois romanticism from the very start and thereby… false! Today a technological storm is raging, the result of which will be the ultimate democratization of the cinema. For the first time, anyone can make movies.
But the more accessible the medium becomes, the more important the avant-garde. Discipline is the answer… we must put our films into uniform, because the individual film will be decadent by definition! The movie had been cosmeticized to death, they said; yet since then the use of cosmetics has exploded. Is that what we are so proud of? Illusions via which emotions can be communicated? Predictability dramaturgy has become the golden calf around which we dance. As never before, the superficial action and the superficial movie are receiving all the praise.
The result is barren. An illusion of pathos and an illusion of love. Today a technological storm is raging of which the result is the elevation of cosmetics to God. By using new technology anyone at any time can wash the last grains of truth away in the deadly embrace of sensation. The illusions are everything the movie can hide behind.
Lars von Trier and Thomas Vinterberg wrote and co-signed the manifesto and its companion "vows". Vinterberg said that they wrote the pieces in 45 minutes. The cinema world had gathered to celebrate the first century of motion pictures and contemplate the uncertain future of commercial cinema. Called upon to speak about the future of film, Lars von Trier showered a bemused audience with red pamphlets announcing "Dogme 95". In response to criticism, von Trier and Vinterberg have both stated that they just wanted to establish a new extreme: "In a business of extremely high budgets, we figured we should balance the dynamic as much as possible. Since the two films were released, other directors have made films based on Dogme principles.
1995: Manifiesto Dogma
Niente luci, nessuna scenografia , assenza di colonna sonora , rifiuto di ogni espediente al di fuori di quello della camera a mano. Le regole da seguire per raggiungere questo obiettivo sono state espresse in un manifesto scritto. Il 20 marzo , a Copenaghen , i registi hanno firmato il documento che ha sancito la fine del patto a dieci anni di distanza. I dieci anni di esperienza del Dogma 95 hanno portato alla produzione di 35 film. Spesso a questi ci si riferisce solamente con un numero Dogma 1, Dogma 2, etc.